artists

Yane Calovski

1973, Skopje, MK
Lives in Skopje, MK

Master Plan, 2008
Drawings, video, publication and the original copy of Kenzo Tange Associates’ _Master Plan for the Reconstruction of Skopje’s City Center_

BOLZANO/BOZEN

As a “new” city of the mid-Sixties Skopje was a rare case of intended brilliance and unfocused deliberation. The capitalists envisioned it; the socialists articulated it and the communists built it. Today the city has moved into a very different realm of political and urban discourse, committed not so much to progressive ideals of urban living as to emblematic “prize architecture.”Master Plan is an installation of drawings and video that incorporates the recently unearthed, winning proposal by Kenzo Tange Associates for the reconstruction of the city of Skopje following the earthquake of July 1963. The video and the series of drawings present further ideas found in traces of information and the residue of research. Master Plan gives a sense of how the rational space of diagrams comes to overlap with the mystical space of illusions.
Yane Calovski makes drawings, writes stories, develops narrative strategies for public spaces and believes in vernacular knowledge. He is the founder of D_ , a journal of contemporary drawing and, in collaboration with the artist Hristina Ivanoska, _press to exit project space .

Location

BOLZANO/BOZEN

RAQS MEDIA COLLECTIVE: "THE REST OF NOW"

“The extraction of value from any material, place, thing or person, involves a process of refinement. During this process, the object in question will undergo a change in state, separating into at least two substances: an extract and a residue. With respect to residue: it maybe said it is that which never finds its way into the manifest narrative of how something (an object, a person, a state, or a state of being) is produced, or comes into existence. It is the accumulation of all that is left behind, when value is extracted… There are no histories of residue, no atlases of abandonment, no memoirs of what a person was but could not be.”(Raqs: With Respect to Residue, 2005)
What transpires in the course of a second, closer look at the narrative of progress and the velocity of our times?
Our effort is to subject these realities to critical reappraisal. The setting of part of Manifesta 7 in a disused aluminium factory in Bolzano – a space of abandonment and residue – raises many questions about the after-life of extraction. What gets left behind when everything is taken away? What can be retrieved, and what can be remembered? How can the residual become the engine of meaning?
We are interested in thinking about what happens when things are rendered as valuable in this world. It involves a slowing down, aconcentration of attention on some processes that might otherwise attempt to obscure those traces that are left behind. In one sense, it is an attempt to come to terms with the self-fulfilling amnesia of Capitalism, and to see what can be salvaged from the oblivion to which the residues of Modernism are normally consigned.
The task of creating a network of processes and art works inside an abandoned industrial site seems to us to be the perfect opportunity to invite artists – and some participants who do not practise as artists – to enlarge the horizons of this conversation.
While Europe is already known for art spaces and events that occupy abandoned industrial sites, there still remains the question of what the combination of remembered industrial energy and a more current melancholia of abandonment actually means today. In some ways this is symptomatic of Europe’s unwillingness to come to terms with aspects of its own difficult path into, and through, the 20th century.
Raqs Media Collective
THE REST OF NOWARTISTS
David Adjaye, Stefano Bernardi, Kristina Braein, Yane Calovski, Candida TV, contemporary culture index, Neil Cummings and Marysia Lewandowska, Harold de Bree, Latifa Echakhch, Marcos Chaves, etoy.CORPORATION, Anna Faroqhi, Ivana Franke, Matthew Fuller, Francesco Gennari, Ranu Ghosh, Rupali Gupte and Prasad Shetty, Anawana Haloba in collaboration with Francesca Grilli, Graham Harwood, Nikolaus Hirsch & Michel Müller, Hiwa K, Emre Hüner, Helen Jilavu, Sanjay Kak, Zilvinas Kempinas, Reinhard Kropf and Siv Helene Stangeland, Anders Krueger, Lawrence Liang, Charles Lim Yi Yong, m-city, Teresa Margolles, Walter Niedermayr, Jorge Otero-Pailos, Martin Pichlmair, Piratbyrån Party (featuring a performance by Jem Noble), Jaime Pitarch, Prof. Bad Trip, Kateřina Šedá, Dayanita Singh, TEUFELSgroup, Meg Stuart, Melati Suryodarmo, Jörgen Svensson, Hansa Thapliyal, Alexander Vaindorf, Judi Werthein, Graham Harwood, Richard Wright, Matsuko Yokokoji,Darius Ziura
SPECIAL PROJECTSHot Desking: Four broadsheets, four cities, four eventsA project in collaboration with Konstfack Curator LabHot Desk Paris: J’aime beaucoup ce que vous faitesHot Desk Istanbul: MuhtelifHot Desk Stockholm: Site MagazineHot Desk Rome: Nero Magazine
Tabula Rasa: 111 days on a long tableA project by Denis Isaia in conversation with Raqs Media Collective
“The Rest of Now” will be accompanied by a print publication edited by novelist Rana Dasgupta containing texts and images by Irina Aristarkhova, Ursula Biemann, Ingrid Book and Carina Hedén, Espen Sommer Eide, Lakhmi Chand Kohli, Anders Kreuger, Ove Kvavik, J Robert Lennon, Lawrence Liang, Daniel Magnusson, Christien Meindertsma, Naeem Mohaiemen, Jeffrey Schnapp, Ravi Sundaram, Jeet Thayil, Cédric Vincent, and others.